Economic structure; digital euphoria The dream of a conflict-free capitalism appeals to a diverse audience. No politician can win elections without eulogising the benefits of the information society and promising universal wealth through informatisation. "Europe must not lose track and should be able to make the step into the new knowledge and information society in the 21st century", said Tony Blair. The US government has declared the construction of a fast information infrastructure network the centerpiece of its economic policies In Lisbon the EU heads of state agreed to accelerate the informatisation of the European economies The German Chancellor Schröder has requested the industry to create 20,000 new informatics jobs. The World Bank understands information as the principal tool for third world development Electronic classrooms and on-line learning schemes are seen as the ultimate advance in education by politicians and industry leaders alike. But in the informatised economies, traditional exploitative practices are obscured by the glamour of new technologies. And the nearly universal acceptance of the ICT message has prepared the ground for a revival of 19th century "adapt-or-perish" ideology. "There is nothing more relentlessly ideological than the apparently anti-ideological rhetoric of information technology" (Arthur and Marilouise Kroker, media theorists)

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Further Tools: Photography Art has always contributed a lot to disinformation. Many modern tools for disinformation are used in art/photography. Harold D. Lasswell once stated that propaganda was cheaper than violence. Today this is no longer true. Technology has created new tools for propaganda and disinformation - and they are expensive. But by now our possibilities to manipulate pictures and stories have gone so far that it can get difficult to tell the difference between the original and a manipulation. Trillions of photographs have been taken in the 20th century. Too many to look at, too many to control them and their use. A paradise for manipulation. We have to keep in mind: There is the world, and there exist pictures of the world, which does not mean that both are the same thing. Photographs are not objective, because the photographer selects the part of the world which is becoming a picture. The rest is left out. Some tools for manipulation of photography are: retouch cutting colouring blue box montage morphing (71) wet operation (73) neutralizing (74) masks (75) damnatio memoriae (78) Some of those are digital ways of manipulation, which helps to change pictures in many ways without showing the manipulation. Pictures taken from the internet could be anything and come from anywhere. To proof the source is nearly impossible. Therefore scientists created on watermarks for pictures, which make it impossible to "steal" or manipulate a picture out of the net.

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Face recognition In order to be able to recognize a person, one commonly looks at this persons face, for it is there where the visual features which distinguish one person from another are concentrated. Eyes in particular seem to tell a story not only about who somebody is, but also about how that persons feel, where his / her attention is directed, etc. People who do not want to show who they are or what is going on inside of them must mask themselves. Consequently, face recognition is a kind of electronic unmasking. "Real" face-to-face communication is a two-way process. Looking at somebody's face means exposing ones own face and allowing the other to look at oneself. It is a mutual process which is only suspended in extraordinary and voyeuristic situations. Looking at somebody without being looked at places the person who is visually exposed in a vulnerable position vis-à-vis the watcher. In face recognition this extraordinary situation is normal. Looking at the machine, you only see yourself looking at the machine. Face biometrics are extracted anonymously and painlessly by a mask without a face. Therefore the resistance against the mass appropriation of biometrical data through surveillance cameras is confronted with particular difficulties. The surveillance structure is largely invisible, it is not evident what the function of a particular camera is, nor whether it is connected to a face recognition system. In a protest action against the face recognition specialist Visionics, the Surveillance Camera Players therefor adopted the strategy of re-masking: in front of the cameras, they perfomed the play "The Masque of the Red Death" an adaption of Edgar Allen Poe's classic short story by Art Toad. According to Visionics, whose slogan is "enabling technology with a mass appeal", there are alrady 1.1 bn digitised face images stored on identification data banks world wide. When combined with wide area surveillance camera networks, face recognition is capable of creating a transparent social space that can be controlled by a depersonalised, undetected and unaccountable centre. It is a technology, of which the surveillance engeneers of sunken totalitarian regimes may have dreamt, and one that today is being adopted by democratic governments.

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Charles Babbage b. December 26, 1791, London, England d. October 18, 1871, London, England English mathematician and inventor who is credited with having conceived the first automatic digital computer. The idea of mechanically calculating mathematical tables first came to Babbage in 1812 or 1813. Later he made a small calculator that could perform certain mathematical computations to eight decimals. During the mid-1830s Babbage developed plans for the so-called analytical engine, the forerunner of the modern digital computer. In this device he envisioned the capability of performing any arithmetical operation on the basis of instructions from punched cards, a memory unit in which to store numbers, sequential control, and most of the other basic elements of the present-day computer.

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Nadia Thalman Nadia Thalman is director of MIRAlab at the University of Geneva, Switzerland. Thalmann has become known as the creator of "virtual Marylyn", an installation which allowed visitors to literally to slip into Marylyn's shoes. Thalman's work is located at interface between science and art. It is about modelling human bodies for science and creative purposes, e.g. as virtual actors in movies. Thalman insists that artificial beings must be beautiful, in addition to being useful, as we will be living with them at close quarters.

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